WANG Xi-Lin 1: Introduction

2006-08-04 22:16:31 来自: newquantum(11-30梅剧院京剧红鬃烈马)

//新整理的作曲家王西麟的详细英文介绍资料，既在这里保存也便于链接给个别外国人了解。

Wang's biography and music online:
http://www.classicalarchives.com/artists/wang.html

More information about Wang:
Reviews: http://www.douban.com/group/topic/1168761/
Explanation: http://www.douban.com/group/topic/1168762/
Thesis: http://www.douban.com/group/topic/1168765/
Worklist: http://www.douban.com/group/topic/1168774/

Brief Introduction
Wang Xi-Lin (1936-), Chinese composer, National First-Class Composer, Composer in Residence of Beijing Symphony Orchestra. Wang graduated from Shanghai Conservatory of Music in 1962, with Symphony No.1 (OP.2) as his graduation work. In 1963, he was assigned to Central Radio Symphony Orchestra, and composed “Yunnan Tone Poem” in the same year. From 1964 to 1978 including the Culture Revolution, he suffered political persecution for 14 years, and was exiled to Shanxi Province. He had never begun studying modern music of the 20th century until the end of Culture Revolution, when he came back to Beijing at 40 years old. And from then on, he remarkably changed his musical language and aesthetics, becoming a Radical and a unique representative composer among his generation.
As a prolific composer, Wang has composed about 50 works including six symphonies, two symphonic suites, two symphonic cantatas, three symphonic overtures, a violin concerto, a choral concerto, etc, along with more than 40 pieces of movie or TV music. He has ever won the highest prize of National Competition of Music Compositions for three times: symphonic suite “Yunnan Tone Poem” in 1981 (OP.3, composed in 1963), art song “Spring Rain” in 2000 (OP.13-1, composed in 1980), and “Three Symphonic Frescoes - Legend of Sea” in 2004 (OP.35, composed in 1998). His Symphony No.3 (OP.26, composed during 1989-90) was elected into Chinese Music Classics in 20th Century in 2004. In 1994, he visited United States for half a year on a grant from Asian Cultural Council (ACC), an affiliate of the John D. Rockefeller III Award, and gave lectures in eight conservatories such as Yale School of Music.
Wang’s “Torch Festival” (the finale of “Yunnan Tone Poem”) has been performed in over 20 countries around the world, nearly 40 cities, and more than 20 conductors have ever conducted this work. In 2002 his “Quartet” (OP.41), commissioned by Cologne Chamber Orchestra, was premiered in Cologne, Germany on April 13th. In 2004 his “Octet” (OP.42), commissioned by Switzerland Ensemble Antipodes, was premiered at ISCM World Music Days 2004 - Switzerland TRANS-IT New Music Festival, in Luzern, Switzerland on Nov 3rd, and created a great sensation. His “Quartet” and “Piano and Strings” (OP. 23, composed in 1988) were performed at FA-IARTS Festival 2005 in US in May and June 2005, and got a big success. Symphony No.5 will be premiered in US in February 2007.

2006-08-04 22:16:57 newquantum (11-30梅剧院京剧红鬃烈马)

Important Comments
Letter of Recommendation by Krzysztof Penderecki
January 10th, 2001
Letter of Recommendation
I would like to highly recommend Mr. Wang Xilin’s Symphony No.4. This a great symphony work based on music of the European avant-garde of the 1960s and 70s. Because Chinese composer were isolated for many decades, I think that such a serious award as the Grawemeyer Music Award should honor a composer who has preserved his own individual language against the general trend in music in his country.
Krzysztof Penderecki (signature)

Jim Cotter’s (Composition Professor of Australia National University, School of Music) comments on Wang Xilin’s Symphony No. 4
March 20th, 2001
Wang Xilin’s Symphony No. 4 is stunning. The only comparison I can make is with the symphonic work of Theodorakis. Absolutely nothing in common stylistically but the power and passion conveyed by a musical language which supposedly is unable to communicate accurately but does so against all expectations in a vivid and potent manner leaves me totally not surprised as to the violent reactions against it. Even as an untutored observer of the social scene, on can hear, as in much of Shostakovich, the clear denunciation of inhumane behavior. Few composers are able to convey this passion with such clarity of purpose and this, if nothing else, puts him in the front rank of composers of the last 50 years. There is nothing in this work, nor indeed in any of the other pieces with which I am familiar, that begs its audience to enjoy for the sake of the creator’s ego. Rather, from the early work to this latest offering, I hear the voice of reason asking only that humanity be given a fair and honorable hearing.
I hear the influence of Penderecki and the other Polish composers. What I also hear is an extension of the techniques derived from this influence which transcends that undertaken by any of the Poles. He has solved the problems posed within this area of 20th century music.
In considering this work one can only put it in the upper rank of compositions no matter which century. The technical skill which is shown not only in this score but in all the others that I have heard belies the fact of the composer’s auto-didacticism. Again, I can only point to Russian antecedents--Rimsky-Korsakov，who taught himself orchestration and ultimately became one of, if not the, greatest exponents of this art. .
Jim Cotter

V. N. Kholopova’s (Professor of Moscow Music Conservatory, Musicologist) comments on Wang Xilin’s Symphony No.3 and other works
Nov. 18th, 1992, Beijing
I Think Shostakovich Would Have Been Ecstatic
Coming to China, I found here the genuine and vivid development of the tradition of our great compatriot Dmitri Dmitrievich Shostakovich - Wang Xilin, one of the leading composers of China, an experienced master. His “Symphony No. 3” (OP.26, 1990) carried forward the tradition of Shostakovich, which doesn’t exist in Moscow and Leningrad any more nowadays. Formerly, his “Two Symphonic Poems” (OP.22, 1985) was dedicated to the memory of Shostakovich. If we say that Russia has mainly cultivated a “largo” Shostakovich, then this Chinese composer has inherited the indomitable “battle drum beating” line of Shostakovich. This line used to daunt the whole world.
In the scherzo of Wang Xilin’s “Symphony No. 3”, parts of the orchestra play ingeniously in a cubic space with a tambourine solo and several gradually intensifying groups of percussion. The music is so splendid, that Shostakovich (I was personally well aquatinted with him) would surely have been ecstatic. Mr. Wang composes with high technical proficiency. Though I can hear the things he learnt from Shostakovich and Penderecki, he is totally different from those great predecessors, and this really surprises me. This kind of music I have never heard in any other’s. This strength of the symphony is wrapped up by a long, deep and meditative melody (the composer is an excellent lyrist), which once explodes into an avalanche of intense sonority, once turns into a distinctive monologue (cello overtone and alto flute). I wonder how can there be such a fountain of percussion instruments? How can there be such a stream of melodies? Undoubtedly, the long, cantabile, beautiful melodies of Tchaikovsky, Rachmaninov and Prokofiev have flown over the mountain ridges of China and the tragic fates of these two great nations have merged together.
I wish, the world could hear this music, which has never been heard before.
V. N. Kholopova

Sofia Gubaidolina’s oral comments on Wang Xilin’s Quartet and Casting a Sword
Oct. 13th, 2005, Beijing
These are masterpieces. They give me a very strong impression. As to the first work Quartet, it gives me an extremely violent and deep impression. Its emotion is very strong; the image is very striking; the impression is very profound. The cello solo at the beginning, hears like a strong protest. Though it's merely a quartet, it's by no means an ordinary piece of chamber music, but a work with strong symphonic thoughts. Not only has the sense of plot, but also has violent dramatics in tone. It's not an external dramatic contrast, but internal dramatics. Both of its proceeding of melody and its staccatos are unique, and form a huge contrast between the beginning and the end of the context. The 4th and 5th harmony that emerge in the latter part, are particularly peaceful and lyric, leaving people a feeling of great beauty. Such changes of tone, dramatic contrast and characters of plot, are master hand. The second work Two Pieces Written For Casting A Sword confirms and verifies the former impression further. I feel the music is full of fiery power.
Particularly I want to say: Such music in our contemporary world is quite rare, unique and novel, so I hope such music could be heard by more people around the world, which is a considerable supplement to the modern music nowadays. For the existence of such music, I would like to show deep congratulations to the composer.
Sofia Gubaidolina

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2007-02-04 12:18:30 ice ice baby (no u)

newquantum兄，在豆瓣上组建一个中国作曲家小组如何？

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2007-02-04 19:54:18 newquantum (11-30梅剧院京剧红鬃烈马)

我觉得没有必要，中国作曲家几乎都属20/21世纪，都已包括在本小组范围内了。

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